Review: THE SHOW MUST GO ON - THE MUSICAL THEATRE STORY, The Other Palace
Returning to The Other Palace after a successful run at the Edinburgh Festival, The Show Must Go On: The Musical Theatre Story takes audiences on a nostalgic journey through the history of musical theatre. Blending live performances with storytelling, the show traces the genre from its roots to today’s Broadway and West End hits. Conceived and directed by Chris Dilley, who also co-produces alongside Sarah Pryde, the production features songs from over thirty beloved musicals, creating a memorable fascinating evening for theatre enthusiasts.
The intimate, bar-like setting with minimalist staging creates an inviting atmosphere. Both Dilley and Pryde take on dual roles as performers and producers, joined by Alex Hancock and Rachael Bailey-Bird. Together, the ensemble brings each song to life, skilfully adding historical context to deepen the audience’s appreciation for the genre’s evolution.
Several performances stand out throughout the evening. The ensemble’s lively rendition of ‘Oklahoma!’ captures the classic’s charm. Rachael Bailey-Bird gives an emotional performance of ‘Somewhere’ from West Side Story, though her rendition of ‘Memory’ from Cats reveals slight vocal cracks on the more challenging notes. Alex Hancock brings intensity to ‘One Song Glory’, adding a rock edge that resonates with the audience. Sarah Pryde’s ‘Send in the Clowns’, though not perfectly suited to her vocal range, displays touching sincerity. Dilley’s powerful rendition of ‘Out There’ is especially memorable, with an impressive vocal performance, with Dilley capturing Quasimodo’s vulnerability and strength beautifully.
The Disney and contemporary numbers inject an enjoyable energy that keeps the audience engaged. However, Act 2’s flow isn’t as smooth as Act 1, with some disjointed narration and awkward pauses that leave the stage empty, stalling the production’s momentum. The absence of Wicked is noticeable, particularly in a production celebrating musical theatre’s history.
While the vocal performances are generally strong, there is a noticeable soprano-heavy sound throughout the production. The lack of a lower alto voice leave some harmonies feeling thin, especially in songs like ‘Rhythm of Life’, where the high harmonies occasionally veer into a sharp tone, detracting slightly from the intended impact.
Each performer brings unique vocal qualities, though some song selections don’t quite match their strengths. Dilley’s comedic take on ‘You’ll Be Back’ is engaging, though some notes stretch his range. Hancock’s rendition of ‘Jesus Christ Superstar’ is ambitious, pushing his vocal limits where a different song might have better highlighted his abilities.
Choreography feels inconsistent at times. Numbers such as ‘Anything Goes’ reveal timing issues that highlight who the weaker dancers are, occasionally pulling focus and affecting the show’s polish. Costuming is a mixed bag. The red outfits in Act 1 feel overly casual, whereas Act 2’s blue sparkly jumpsuits are visually appealing but feel mismatched for the more subdued numbers, creating an inconsistent visual experience that sometimes distracts from the performances.
The Show Must Go On offers an enjoyable evening of musical theatre nostalgia with several memorable moments. With more refined choreography, cohesive costuming, and a better balance in vocal ranges, this production has the potential to become a polished and professional showcase. As it stands, it’s an entertaining night for musical theatre fans, though there’s room to refine and elevate the experience further.
** Two stars
Reviewed by: Laura Harris
